Review: Alvvays at Metro City

Alvvays at Metro City
w/ Hatchie
Thursday, December 14, 2023

In what’s been a banger summer thus far for international acts coming to Australia, you can add Alvvays to the list as the beloved indie outfit played a set of non-stop jangle pop bangers to a packed Metro City.

Opening proceedings was a pleasant surprise in Hatchie, a huge up-and-coming artist in her own right and a great selection as opener. It was just Hatchie (AKA Harriette Pilbeam) on stage, which was surprising given that her jangle pop sound has been expanded in her 2022 effort, Giving the World Away. Nevertheless, Hatchie plus guitar was enough to carry the show, with her 90s-styled pop odes coming alive on stage. Fan favourite Obsessed was a highlight, as was the angelic Cocteau Twins-esque Her Own Heart and the big chords of singalong Sure.

As Alvvays came onto the stage in what was their first visit to Perth, they cut a modest figure given their status as one of indie pop’s most beloved and consistent bands. They were dressed preppily, and each member’s looks belied their age. The attitude extended to the crowd, who watched and sang along to rapt attention but were certainly more respectful than rowdy. While vocalist Molly Rankin looked and sounded young (despite being well into her thirties), the band’s seasoned confidence came through as soon as the first note was hit as they jumped into Pharmacist from their superb 2022 effort, Blue Rev. It was a powerful opener that featured two band members on bass, an interesting but appropriate choice that emulated the track’s wall of sound well. The five-piece then traded for a more traditional dual-rhythm guitar, keys, and bass/drums setup, in a set largely driven by chorus-drenched guitars.

After the Earthquake was a faster Smiths-influenced rocker driven by some beautiful, clean guitar arpeggios. The back projection played snatches of home video, with sunny images of sun-beaten pools and suburban lawns befitting the band’s themes around young angst. Rankin’s vocals were superb here in what was a cornerstone of the set. Her voice had matured on the latest record, incorporating a slightly more Celtic-tinged approach, and it was a treat to see this translating powerfully live.

Very Online Guy is a personal favourite from their latest, and it was given its due in the set’s first third, with more emphasis on synth and very cool projections that emulated a 1980s vision of war games. Given the band’s classic pop approach of the sub-three-minute pop song and their lack of extensive stage banter, the breadth of material covered was impressive. All sixteen tracks from Blue Rev were featured, and the remaining selections were a good cross-section of their first two albums.

Adult Diversion benefited from some beautiful harmonising by the band, which played excellently off Rankin’s leading voice. This reached a peak on the epic Belinda Says, which featured three-way harmonies and every member contributing their voice at points. Tile by Tile featured heavy synths and beautiful verses in challenging vocal performances, which Rankin delivered with aplomb. Velveteen came off well too, though both it and its predecessor tried to replicate the strings on the record through the synth with mixed success. It was also a surprise to hear the melancholic blast of Pressed (a personal favourite despite its short runtime).

The remainder of the main set mixed newer material with some beloved old bangers. Dreams Tonite went down a treat as the stage was lit up for a huge no-frills singalong with big falsettos to close. And of course there was Archie, Marry Me, which had everyone united, their earliest and arguably still biggest hit from way back in 2013. In an interesting bit of sequencing, the fast-paced Pomeranian Spinter ended the main set, implying more to come. The three-song finale was excellently performed. Early track Next of Kin was captured live in its moody glory. A cover of 80s Aussie indie stalwarts The Hummingbirds’ track Alimony was an obscure but genius selection, a great tribute to Australia’s jangle pop heritage and one whose subject matter fit well amidst the band’s lyrical interest in holy matrimony and its fallout. Lottery Noises was a lowkey finisher, a sad three-minute epic with an aching, definitive vocal performance from Rankin.

It was a sterling set overall, whose breadth had something for everyone. The only complaint would be against the sequencing, with Belinda Says or a bigger early hit likely serving as a better closer. The sheer consistency of the band’s catalogue also meant there were some tracks missed, such as Atop a Cake or the straight-ahead pop bliss of Plimsoll Punks. Such is the struggle for a band that has so much to give, however, and we can only see them growing from strength to strength. Until next time.

MATIJA ZIVKOVIC

Photos by Linda Dunjey